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June 17, 2001  |
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12th & Porter Nashville, TN |
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Notes
“Not only are we playing these shows for the pure pleasure of playing in front of you people tonight but we’re also trying out brand new material in the hopes that some huge magnificent band like Tool will ask us to go on tour or something...and we can show ‘em where it all came from” laughs Belew, tongue firmly in cheek.
The fourth and final evening at 12th & Porter begins with an absolutely explosive version of Level Five. Adrian’s high-octane guitar solo strips the paint off the walls and the tour-de-force continues with a fast-moving TCOL. Speed and fleet-fingered pace are features of a specially truncated version of FraKctured which bursts abruptly into life on the aggressive middle section instead of its usual fade in on the moto perpetuo. Complete with jokey sign-off Belew quips that it was “close enough for...something.”
Close enough might also be said to describe a slightly chaotic rendition of Vrooom and a good natured romp through Dinosaur. The material in development has a more pronounced focus to it tonight than on previous occasions. Clearly, there was still work to be done but instrumentally the main structures are firmly in place.
After this gig, the band’s next port of call would be the start of a tour on July 23rd at Bogarts in Cincinnati.
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| Tracks
All previews are MP3 192kbps
Personnel
Robert Fripp
Adrian Belew
Pat Mastelotto
Trey Gunn
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Audio Source: Dat Soundboard
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Band Member Diaries
Sun., Jun 17, 2001
Written by Robert Fripp
10.28
An e-flurry before setting off to play with Sister & have brunch with Vic Garbarini & Katie Healing Hands. Last night's show fell together, with the emphasis on "fall" and "together". The overall performance held its integrity, rather than being an episodic unveiling of surprises, treats, terrors and collapses, all of which continued to feature but without disturbing the sense of a single event. A new twist on "FraKtured": sweat managed to unseat my grasp on the pick. This maybe a first in my career: under normal conditions it is almost impossible to remove the pick from my firm, relaxed grip. But a small club in Nashville during June clearly provides abnormal conditions. Rather than flail even more pathetically than usual, I stopped and continued. This piece continues to present me with insights into playing. Friday night I noticed (while up and flying) that to privilege the secondary accompanying part, even to grant it equality with the melody line, disturbs the picking. So, my aim last night was to slightly privilege the melody. Little hope of that, pick sliding around. I'm not sure how all this translates musically for an audience, but it demonstrates that high levels of challenge provide rewards for those dopey enough to expose themselves to public ridicule while feebly attempting to embrace the challenge. Once again, a generous and supportive audience. 23.44
I am embarrassed. Tonight's King Crimson performance was not honourable, and there are not many examples of this I can readily recall, but this Sunday evening the band simply wasn't there. It's not that there were mistakes & bad cues, matched in the main with recoveries: examples of playing, even good playing, are irrelevant. Tonight's show lacked the integrity that characterised the performance yesterday. There are several possible contributory factors but right now I'm not going to elucidate them. It's packing time.
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